I have recented completed my Masters in Printmaking at UAL, Camberwell College of Art. I am primarily a printmaker, but also work in paint and in glass
My current practice as a printmaker explores the depiction of remembered spaces from my past. It aims to describe the fallibility and vulnerability of memory and how memories can attach themselves to spaces or objects, which then become symbolic of times past.
My most recent work also intends to comment on the influence of photographs on the details of remembered places by employing a layering or merging of hand drawn etching and photographic imagery. The drawings are made with eyes closed to encourage the imagery of memory to surface and give a suitably distorted, dreamlike quality. The photographic layer is, in a way, brought into the present by being recreated digitally from old photographs, treasured paper objects, taken at a time when photography was much less intrinsic to everyday life. As reference material for my childhood home, they are in short supply and reveal only a moment in time, a snippet or snapshot of a place since lost. The rest is committed to memory in a more comprehensive, though perhaps more eroded and muddled collection of imagery… so the layers in my work bring together these two elements of memory, influencing each other, as they do in my mind.
Etching is synonymous with the idea of burning or inscribing a representation of a memory or story, in order to record it and make it more permanent – to reflect on it, as we do with photographs, to retrieve and stir memories up from the recesses of our minds. They emerge from darkness and are never quite clear or right, influenced by the passage of time and by the photographs themselves. The chine collé method binds the two images / memories together to form one piece, a distorted, intriguing representation of a lost space.